By Jack Rafferty
Myself like many others have Metallica to thank for introducing them to heavier music. While my first introduction to Metallica was the self-titled record, otherwise known as the Black Album, which I know is not the best first impression, I soon began learning guitar. The first song I ever learned was “Seek and Destroy” from Kill ‘Em All. Not long after, I went ahead and somehow skipped Ride the Lightning and bought Master of Puppets. I had been into the band up to this point, but it was upon first listening to this album that I felt something akin to an epiphany. It is an album that is truly timeless, and one of my absolute favorites. I don’t like to use the word iconic unless I feel it is really warranted, but it certainly is here.
From the first notes of “Battery” (which, in my eyes, is about as close to a perfect opening track that could possibly exist), I was mesmerized. I hadn’t listened to many thrash albums at the time, but over the years as I continued to expand into the genre, I rarely found ones that I felt equaled the experience of listening to Master of Puppets. To me, all the elements that Metallica do well are done the best on this album. From Hetfield’s growling, yet melodic, vocals to the insanely catchy riffs, to the incredible instrumental tracks, pristine production, and the combination of the ferocity and lyrical quality/emotional depth. Overall, I think this album refines and improves upon many of the great things Metallica was working on with Kill ‘Em All and Ride the Lightning.
The title track, which I have avoided for some years due to it being overplayed (how great it is to return with fresh ears), is such a classic track that I can’t really say much that others haven’t already. That lead riff is still one of my favorites of all time. Also, the solo is just so fucking good. Then there is here that transition to “The Thing That Should Not Be” with the introductory quiet, deep notes that explode into the distorted chords of the same melody—it always gives me chills. From a pacing perspective, I think this track was a great decision. It serves to slow things down a bit, but not too much, from the first two tracks. I do think that, in the context of single tracks across the album, this might be the one I least enjoy, but that is just to say I like it less than multiple masterpieces. That being said, I wouldn’t change a thing about it, because again, I think it functions in the overall flow of the album very well. There is not a weak moment on this album.
I used to go around humming the opening to “Welcome Home (Sanitarium)” all the time in high school. Those opening soft harmonics are haunting, and when the opening melancholy clean riff is joined by Kirk’s guitar, it is chilling. I like how in Pitchfork’s review of this album, they talk about the bay area thrash sound as having a “wounded and raw beauty.” That is very descriptive of this album, especially given the lyrical content surrounding antiwar sentiments, religion as an opiate to the masses, mental health struggles, addiction, and more. “Welcome Home” in particular always makes me think of how sanitariums were used to police women, especially poor and marginalized women, during their time, which amplifies the tragedy of the song. It is hard to pick a favorite chorus on the album, they are all so good, but this one is up there.
The rhythm of the guitar work throughout the album is immaculate, and the tone is much meatier here. The higher notes, when they are played, still have the more spectral quality that they had on Lightning. “Disposable Heroes” is a great example of the prior with its main riffs. I can never get enough of the chorus, with Hetfield shouting “back to the front!” The lyrics of this track are also some of the most devastating and dark. It was songs like this that were initially getting me to think about these issues in a certain way. Music motivated me politically long before I was reading theory or anything like that. I would still love this album if that commentary was not present, but it makes it all the better because it is.
“Leper Messiah” is a blistering track, with superb riffs throughout. I haven’t talked much about this composition and songwriting so far, but all these tracks are masterly crafted. There is so much going on even in the first minute of this song. The band knows exactly how long a certain riff or fill should last, and they move on to something else seamlessly. There’s never a moment where I think, “that was a bit of an odd transition from what they were doing.” It always works, always makes sense.
Not much to say about “Orion,” other than it’s one of the greatest instrumental tracks ever written. For such a long instrumental, it’s amazing how it never feels like it is re-treading the same ground in a tiring way. When previous sounds or elements are revisited, they are done in a way that builds upon them, and enhances their part within the whole of the song, like story beats that come to have greater significance later on in a film. I marvel at how young they were when they were writing songs like this.
The closing track, “Damage, Inc.” begins with ethereal notes seemingly reverberating back and forth, passing over one’s head like a flock of birds, before exploding into a blood-pumping, energetic riff. I feel as though this one went overlooked relative to the other tracks for me for quite a while, which seems crazy, because it’s also amazing. The riff that starts just after three minutes is one of the heaviest on the album, followed by an absolutely dizzying solo. The album goes out with a bang, clawing and fighting.
Overall, I’m so happy I found this album when I did. It’s not surprising that Metallica is a gateway band for a lot of folks getting into the genre, and I’m so glad my experience with them did not linger with the later albums, because this is Metallica at their prime. If anyone was curious about metal, and I could only pick one album to introduce them to the genre, it would probably be this one, which is an immense decision to make. I feel as though I’ve more than adequately covered my thoughts on its content, and I can’t begin to measure its impact as a whole. So, I guess I will just reiterate that this album is truly an iconic masterpiece, and I love it.
